Rock Disciplinewww.amoog.irJohn Petrucci

Rock Discipline VideoMusic by John Petrucci

A

5

112431

C

8

112431

E

12

112431

C#

9

112431

G

112431

B

7

112431

F#

112431

= 20

1

fade in= 150

full

A.H. (8va)

G

A.H.full

*Tonality implied by rhythm section throughout INTRO MUSIC

3

6

3

Page 1/48

9

1/2

P.M.

12

P.M. --- semi harm

15

full 1/2 full

3

grad. release P.M.

3

18

21

3

Page 2/48

23

25

28

hold------}

31

full

33 3 3

35

Page 3/48

38

33

3

41

A.H.

B

6 6 6 6 6 6

Harm.

43

6 6 6 6 6 6 6 6 6 6 6 6

45

1 1/2

6 6 6 63

full

3

47

full full full full full full full full

3/41/2

1/2full

3/41/21/4 full

3

Page 4/48

50

1/4

rall. = 120

full

3/41/2

3

3 3 3

3

53

"Hi, my name is John Petrucci..." w/bar (next 2 bars)

3

33

= 130tremolo bar

-1/2

36 6

57 3 3

60

3

63

6 6 6 6 6 6 6 6 6 6 6 6 6 6

Page 5/48

65

6 6 6 6 6 6 6 6

66

6 66 6 6 6 6 6

67

6 6 6 6 6 66 6

68

6 6 6 6 6 6 6 6

69

6 6 6 6 6 6 6 6

2

6 6 6 6 6 6

Page 6/48

71

full

3

full full full 1/2

33 3

74

full

grad. release

full

wide vibrato

3 3

76

6 6

78

33 3

36 6 6 6

80

full

6 6 6 6

6 6 6 6

2

full

33

Page 7/48

82

full 1/2

3 6 66 6

84

3 3 3

3

3

Fade

88

WARM UP EXERCISES (Left Hand)Example 1 (Part 1)

= 20Tempo = 20 (Descend pattern examples 1-3

chromatically down the neck)

90

Example 1 (Part 2)

93

Page 8/48

96

Example 1 (Part 3)

98

Example 1 (Part 4)

101

Example 2 (Part 1)

105

Example 2 (Part 2)

112

Example 3

Page 9/48

114

A

= 60PART II WARM UP EXERCISES (Right Hand)

Example 4

118

CIncrease Tempo As Confidence and Accuracy Increase

E

122

C# G

126

B F#(Increase Tempo Each Repeat)

131

Picking: Variations 1-4 AlternateExample 4(Variations)

(Up,Down / Down,Up)

Page 10/48

136

Example 4(Variation 2)

3

33

3

3

33

33

33

3

139

3

33

3

Example 4 (Variation 3)

142

144

Not in BookExample 4(Variation 4)

5

55

5

147

5

55

55

55

5

Page 11/48

149

5

55

5

151

Not in BookExample 4 (Variation 5)

6 6

6 66 6

6 6

152

6 6

6 66 6

6 6

153

6 6

6 66 6

6 6

154

6 6

6 66 6

6 6

PART III WARM UP EXERCISESExercise 5

Page 12/48

157

(Synchronization of Both Hands)

162

Example 5(Part 2)

167

Example 6(Part 1)

171

Example 6 (Part 2)

176

PART IV TECHNIQUE (Speed and Accuracy)Example 7 (A Major Scale)

Tempo = 66Example 8 (Part 1)

= 66

Page 13/48

182

Example 8 (Part 2)

187

Example 8 (Part 3)

33

3

3 33

33

191

Example 8 (Part 4)

193

196

Example 8 (Part 5)6 6

6 66 6

6 6

Page 14/48

197 6 6 6 6

6 66 6

6 6

6 6

200

Example 8 (Part 6)

202

Example 9

205

209

Accent on BeatExample 9(Development 1A)

Page 15/48

211

215

Tempo = 176Example 9

= 176

(Development 1B)

217

220

Tempo = 184Example 9

= 184

(Development 1C)

222

Page 16/48

226

Tempo = 200Example 9

= 200

(Development 1D)

228

232

Tempo = 170Example 9

= 170

(Development 2)

234

236

Page 17/48

238

240

242

244

Tempo = 170Example 9

= 170

(Development 3)

248

Page 18/48

250

252

254

256

1/21/2

260

Tempo = 208Example 9

= 208

(Development 4)3 3 3 3

Page 19/48

2633 3 3 3

265

267

1.

269

2.

full full 1/2 full

3

273

Tempo = 100Example 10

= 100

6 6

6 66 6

6 6

Page 20/48

275

6 66 6

6 6 6 6

276

6 6 6 6

6 6 6 6

277

6 6 6 66 6 6 6

278

6 6

6 6

6 6 6 6

281

Tempo = 60Example 11

= 60

(Fragment 1)

3 3 3 3

Example 11 (Fragment 2)3

3

3

3

Page 21/48

285

Example 11 (Fragment 3)

3 3 3 3

Example 11 (Fragment 4)3

3

3

3

289

Example 11 (Fragment 5)

3 3 3 3

Example 11 (Fragment 6)

3

3

3

3

293

Example 11 (Fragment 7)

3 3 3 3

Example 11 (Fragment 8)

3

3

3

3

297

Example 11 (Fragment 9)

3

3 3

3 3

3 3

3

300

Example 11 (Fragment 10) Example 11 (Fragment 11)

Page 22/48

304

Example 11 (Fragment 12)

6 6 6 6 6 6 6 6

306

Example 11 (Fragment 13)

6 6 6 6 6 6 6 6

308

Example 11 (Fragment 14)

6 6 6 6 6 6 6 6

310

Example 11 (Fragment 15)

5

5

5

5Example 11 (Fragment 16)

5

5

5

5

313

Example 11 (Fragment 17)5

55

5

Page 23/48

316

Example 11 (Fragment 18)5

55

5

Example 11 (Development 1) (chromatic)

319

322

(diatonic)

324

8x328

Freely, Tempo = 58 -200Example 11

= 58

(Development 2)9x

play free time slow, gradually increasing speed,and then backing off

331

Tempo = 84Example 11

= 84

(Development 3)

Page 24/48

334

jog, sprint, jog to build stamina...

337

338

340

344

Example 11 (Development 4) Freely

6 6 6 6 6 6

346

Page 25/48

348

5

5

5

5

350

5

56 6 6 6 6 6 6 6

352

6 6 6 6 6 66 6 6 6 6 6 6 6

354

6 6

356

357

6 6 6 6 6 6

Page 26/48

359

55

364

Example 12

6 6 6 6 6 6 6 6

365 6 66 6

6 66 6

366

6 6 6 66 6

6 6

6 66 6

369

Example 13 (Combines Fragments 10,11,15,16 )

371

Page 27/48

373

375

377

379

382

Example 14 (Using Fragments 17,18)

384

Page 28/48

386

388

392

A Major Scale (5th Position)E not repeated when String Skipping

6 6

6 66 6

A Major Scale (5th Position) String Skipping (Not in Book)

6 66 6

6 66 6

394

Example 15 (one of the fragments used earlier)

397

Page 29/48

399

403

Example 16A7b5= 100

3

Dm7

3 3

1/2 1/2

408

BbMaj9

1/2 1/2

411

full full

3

413

Gm11

1/4

6 66 6

3

Page 30/48

415

A7sus

416

A7

full full

Dm7

full

3

418

3 33

full full

grad. release

421

full

BbMaj9

full

3

33

full

6 6 6 6

Page 31/48

423

full full

3 3

3 3 3 36 6

3

425

Gm11

426

1/2 full

12 12 12 12 3 3

427

A7sus

3

6 6 6 6

A7

1/2 full full

3

429

Dm7

full

33

33

3 3

Page 32/48

431

1/2

3 3 33

3

3

433

BbMaj9

434

435

full3 3 6 6

3

1/2

3 3

437

Gm11

3

full

3 3

A7sus

Page 33/48

440

A7 Dm7 BmPART VI RIGHT HAND

445

(Alternate Inside Picking Arpeggios)TECHNIQUE

GMaj(#11) A

450

A#dim Bm CMaj(#11)

455

C#dim D B7/D#

460

Emin FMaj(#11) F#dim

Page 34/48

465

E7 Am

471

G Major Triad (difficult picking)

33

33

Example 18 (Variation: G,Bm,Am,Em7)

33 3 3

475

G

3 33

3

Bm

3

33

3

Am Em7

3

3 33

478 8x

PART VII LEFT HAND TECHNIQUE (Legato Playing)Example 19

= 80

(Fragments 1 & 2)

8x

8x482

Example 19 (Fragment 3)

6 6 6 6 6 6 6 6

Page 35/48

8x483

Example 19 (Fragment 4)

6 6 6 6 6 6 6 6

8xExample 19 (Fragment 5)

10 10 10 10

8x485

Example 19 (Fragment 6)

10

10

10

10

6x

Example 20 (free time)

6x488 4x

4x490 4x

4x492 5x

4x494 4x

6 6 6 6 6 6 6 6

Page 36/48

496

6 6 3

4x

6 6 6 6 6 6 6 6

498

6 6 6 6 6 6 6 6 6 6 6 6

500

6 6 6 6 3 3 3 3

502

3 3 5 6 6

507

Example 21 (fragments studied in Example 19)

77

7

77

5

509

77

77

75

Page 37/48

512

A Major scale (5th position)3 note per string ascending

A Major scale (7th position)3 note per string descending

516

Example 22 (Freely)

77

7

519

77

5 77

7

521

77

5 77

7

523

77 7

77

Page 38/48

525

7

75 5 5 5

fullP.H.

528

Em (E Aeolian Scale)Example 23A

531

T T

533

T T T T

535

Page 39/48

538

Tempo=184Example 23B

= 184

3 5 53

5 5

541

35 5

T T T T T

5 6 65

3

543

3 5 53 5

5

545 3 55

hold....}

548

PART VIII - RIGHT HAND TECHNIQUEExample24

= 100

(Sweep Picking)

Page 40/48

550

552

555

Example 25

558

Tempo = 176Example 26

= 176

561

DExample 27A

F#

Page 41/48

565

E/G# A

569

D/F#Example 27B

= 100F#

6 6 7 6 6 7

572

E/G# A

6 6 7 6 6 7

PART IX - CHORDAL TECHNIQUE(Building Chords)

= 100

577

B5Example 28A

= 50A5 D5/A G5 E5

Example 28B

= 100

(Variations)1. B5 2. B5 3. B5/F#

Page 42/48

586

(5th in the Bass)Example 28C

(Adding the 9th)Example 28D

= 50Understanding Scale/Chord Relation

595

RC major (Ionian)

= 502 3 4 5 6 7 R (8va) R

C Ionian (chord

= 503 5 7 9

tones &11 13

extensions)R R

C minor Aeolian

= 502 b3 4 5 b6 b7 R

602

RC minor Aeolian

= 50b3 5 b7 9

(chord tones &11 b13 R

extensions)R

C Mixolydian

= 502 3 4 5 6 b7 R 1

C Mixolydian (chord

= 503 5 b7 9 11

tones & extensions)13 R

610

C5 (1,5)Example 29

= 100CMajor (1,3,5) C minor (1,b3,5) Csus2 (1,2,5) Csus (1,4,5)

620

Cmaj7 (1,3,5,7)Example 30

Cmin7 (1,b3,5,b7) C7 (1,3,5,b7) C (9) (1,3,5,7,9)Example 31

Cm(9) (1,b3,5,b7,9)

Page 43/48

630

etc. C (11)Example 32

Cm11Example 33A Example 33B

Am9 Fsus2

640

Gsus2Example 34A

Asus2 Bsus Cmaj7

645

C#m7 D(11) C(9) Am(9)

649

Gsus2 D(9)/F# F#m11 Fsus2 Esus E

653

F#7(11) A(9) B(11) C#m7Example 34B

Fig1A5 Asus2

Fig2B5

Page 44/48

661

Bsus4Fig3

C5 Cmaj7Fig4

C#5 C#m7Fig5

D5/A D(11)Fig6

C5 C(9)Fig7

A5

671

Am(9)Fig8

G5 Gsus2Fig9

D5 D(9)/F#Fig10

F#5 F#m11Fig11

F5 Fsus2Fig12

E5

681

EsusFg13

E5 EFig14

F#5 F#7(11)Fig15

A5 A(9)Fig16

B5 B(11)Fig17

C#5

691

C#m7Example 35= 135

701

Asus2 G/B C(9) D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9) D(11)

P.M. P.M.

Page 45/48

705

C#m7 A(9) C#m7 F#7sus B5 C#m7 A(9) C#m7 E5 B(11)

P.M.

33

709

C#m9 E5 B(11)

33

Asus2

P.M.

G/B C(9) D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9)

P.M.

713

D(11) Asus2

P.M.

G/B C(9) D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9)

P.M.

717

D(11) C#m7

P.M.

A(9) C#m7 F#7sus B5 C#m7 A(9) C#m7 E5 B(11)

P.M.

33

722

C#m7 A(9) C#m7 F#7sus B5 C#m7 A(9) C#m7 E5 B(11)

33

Asus2

P.M.

G/B C(9)

Page 46/48

727

D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9) D(11)

P.M.

Asus2

P.M.

G/B C(9)

731

D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9) D(11)

P.M.

C#m7

P.M.

A(9) C#m7 F#7sus B5

736

C#m7 A(9) C#m7 E5 B(11)

33

C#m7

P.M.

A(9) C#m7 F#7sus B5 C#m7 A(9)

741

C#m7 E5 B(11)

33

Asus2

P.M.

G/B C(9) D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9)

P.M.

745

D(11) Asus2

P.M.

G/B C(9) D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9)

P.M.

Page 47/48

749

D(11) C#m7

P.M.

A(9) C#m7 F#7sus B5 C#m7 A(9) C#m7 E5 B(11)

P.M.

33

754

C#m7 A(9) C#m7 F#7sus B5 C#m7 A(9) C#m7 E5 B(11)

33

Asus2

P.M.

G/B C(9)

Page 48/48

759

D(9)/F# Gsus2 Fsus2 Asus2 G/B C(9) D(11)

P.M.

Asus2

P.M.

G/B C(9)